Macbeth takes the audience through a journey filled with hope, love, betrayal, and fate. In order to guide and enhance the effects of this journey, the sound will follow the progression of the characters, create the physical world and emotional environment, and allow the audience to connect to the feelings of the characters, as well as make it an exciting show.
The director had a very specific world in mind. Part of it was a creepy, smoggy, misty, grey, dark, extremely cold, world. For the sound concept, the music went through many changes, but eventually came down to the classical style of music. A very specific composer, Arvo Pärt, was chosen. He is currently living, but still writes in the classical style so he brings a contemporary flare to his pieces. He is also well known for his polyphonic style of composing. Most of the sound cues were founded on Part’s compositions. Arvo Pärt’s symphonies were employed to tie into the motion of the journey of the play.
For the cold environments we had wind coupled with still nights. There were also storms that escalated throughout the story. Classic horror movie thunder cracks would come about when the witches would come in or out, to have a theme for them. As Macbeth gets crazier and crazier we start to bring in the thunder that rolls; that deep roll of thunder that you know that something imminent is in the air. Through these effects we create that anticipation and the audience is just drawn into the story.
SOUND DESIGN CONCEPT
Award Winning Design
National Finalist for Sound Design Excellence for KC/ACTF.
This production was also a KC/ACTF Region VI Finalist and toured to the University of Oklahoma for the region festival.
Surround Sound Encoding
Given the intimate theatre space, surround speakers in combination with surround sound encoding were used to create a panning effect that moved sound effects such as a wind gust through the space. Adobe Audition 2 was used for encoding.
Opening Sequence, Act I
Ghost of Banquo Music, Act 3
Macbeth Final Battle, Act 5